Le Nozze di Figaro (The Marriage of Figaro)
A Comic Opera (Opera Buffa) in Four Acts by W.A. Mozart
Libretto by Lorenzo da Ponte
Based on the play by Pierre Beaumarchais La folle journee, ou le mariage de figaro
First performance on May 1, 1786 Vienna





Characters:

Count Almaviva - baritone, married to Rosina; has been having affairs with other women before and after his marriage; insecure in love, lavish, generous and extravagant, suspicious and jealous of Rosina. Has an eye on Susanna and has become jealous and resentful of Figaro for being engaged to her.
Countess Almaviva - soprano, Bartolo's former protégé; married the Count three years ago. Still in love with the Count despite his treatment of her. Graceful and dignified. Susanna, her maid, is her closest friend.
Susanna - soprano, chambermaid and close friend of Rosina; engaged to Figaro. Quick-witted, competent and sharp-tongued. Despises the Count.
Figaro - bass, formerly the Barber of Seville; helped the Count to marry Rosina three years ago. Has been the Count's personal valet ever since; is going to marry Susanna.
Cherubino - mezzo-soprano, a love-obsessed young page in Almaviva's castle; has crushes on all of the women in the palace.
Antonio - bass, the stupid old gardener; Barbarina's father and Susanna's uncle. Doesn't want Susanna to marry Figaro, because he doesn't know who his parents are.
Barbarina - soprano, Antonio's daughter and Susanna's cousin; hopes to marry Cherubino.
Marcellina - mezzo-soprano, Bartolo's old maid and former governess of Rosina; hopes to marry Figaro, as she has a contract signed by Figaro promising to marry her if he couldn't repay his debts. Formerly in love with Bartolo, had a son with him, who is lost.
Don Bartolo - bass, doctor, former guardian of Rosina; resents Figaro for stealing her away from him to marry the Count and therefore is willing to help Marcellina to persue her lawsuit against Figaro.
Don Curzio - tenor, a judge hired by the Count to give legitimacy to Marcellina's lawsuit against Figaro without any favoritism on the surface.
Don Basilio - tenor, singing teacher of Susanna, formerly of Rosina, the Count's secret messenger to his many female friends over the years.


Introduction:
Synopsis:

Act I - A room in the castle of Count Almaviva near Seville, Spain, 1778

It is the wedding day of Figaro and Susanna. Figaro, the servant of the Count, is measuring the room they have been assigned to use as their bedroom. Susanna, the maid of the Countess, is trying on a hat she has made for her wedding day. Susanna dislikes the room and when Figaro says they will be able to respond quickly to their masters summons and come back, she claims that it is much too close to the room of the Count. She tells Figaro that the Count has his eye on her. The Countess calls and Susanna leaves the room. Figaro decides that he will prevent the Count's plans.

Unfortunately, however, Figaro has borrowed some money from Marcellina, Bartolo's housekeeper, and has promised to marry her in case he couldn't repay his debt. Marcellina and Bartolo now come to demand Figaro to do as he has promised. Bartolo rejoices in this opportunity to get his revenge from Figaro, who arranged the wedding of the Count and Rosina (the Countess), whom Bartolo had hoped to marry himself.

Cherubino, the Count's messenger comes to Sussana. He explains that the Count has seen him with Barbarina, the daughter of the gardener. They hear the Count approaching, so Cherubino hides behind an armchair. The Count, thinking that he is alone with Susanna, begins making advances to her until he is interrupted by the arrival of Don Basilio, the music teacher. He too hides behind the same chair as Cherubino, who has now moved to the other side and hides under a sheet. Basilio gossips about the goings-on in the castle including Cherubino's infatuation with the Countess. The Count becomes angry and reveals himself, discovering Cherubino at the same time. The Count is furious but since the boy has overheard his own indiscretions, he vents his anger by giving Cherubino an officer's commission in his Regiment, and tells him to leave immediately.

Figaro now brings a group of villagers to sing the Count's praises. Although they hope to force an immediate wedding before the Count can act against Susanna, Count postpones the Ceremony until he can celebrate the occasion appropriately. The act closes with Figaro's sarcastically praising the military life that Cherubino's is going to begin. (Non Più Andrai- The Salieri's march that is fixed by Mozart in the movie Amadeus)

Act II - In the bedroom of the Countess

The Countess mourns the loss of her husband's affection as Figaro plans to prevent the Count's intended seduction of Susanna. Cherubino is disguising himself in Susanna's clothes to give the Count a note stating that the Countess is having an affair. While the Count is investigating, Figaro and Susanna will be married quickly. But in the middle of their plan, the furious Count arrives. Upon hearing a noise, the Count wants to know who is hiding in the dressing room. When the Countess refuses to tell him, he makes her to accompany him to fetch tools to open the door. Cherubino jumps out of the window, leaving Susanna to take his place in the dressing room. The Countess tells The Count that it is Cherubino who is in her dressing room. The Count demands that the door be opened. Once the door is opened, they find only Susanna. The Count searches for Cherubino and when he fails to find anyone, he begs for forgiveness. Antonio, the gardener, bursts in complaining that someone has just jumped out of the window and spoiled his flowers. Susanna and the Countess try to convince the Count that Antonio is drunk again but Figaro claims it was he who jumped out of the window. Marcellina, Dr. Bartolo and Basilio enter the room to demand justice. Figaro must marry Marcellina or repay his debt. The Count must investigate. The scene ends in chaos.

Act III - A hall in the castle

Susanna comes to talk to the Count. She tell him that she's prepared to meet him later that evening in the garden if he will give her the dowry he had promised. With the dowry, Susanna will be able to pay off Marcellina and marry Figaro. Meanwhile, Figaro learns that he is the long-lost son of Marcellina and Bartolo. As Marcellina and Figaro embrace, it is decided that the wedding will be a double one; Marcellina will marry Dr. Bartolo and Figaro will marry Susanna.

The Countess dictates a letter to Susanna for the Count (from Sussana), to meet her in the pine grove later that night. The letter is sealed with a pin, which is to be returned in reply. (This is probably one of the greatest duets in this splendid opera).

A group of village girls bring flowers for the Countess. Cherubino has disguised himself as a girl among them. The Count and Antonio enter the room and Antonio takes the hat off of the Cherubino's head revealing that it was he who jumped out of the balcony window into his flower bed. The Count wants to punish Cherubino but Barbarina pleads that Cherubino be made her husband instead. The Count agrees.

Figaro enters and the wedding march begins. At the wedding celebration, Susanna passes the note to the Count who pricks his finger on the pin. Figaro notices that the Count had received a love letter and is amused by the pinprick. The Count promises splendid entertainment for the evening.

Act IV - The garden of the castle

Barbarina, the gardener's daughter, laments that she has lost the pin she was to return to Susanna for the Count when Figaro and Marcellina see her in the garden. Figaro is sure Susanna plans to betray him: "to trust women is sheer folly!" Figaro gives Barbarina one of Marcellina's pins to find out the location of the date. Figaro complains to Marcellina about Susanna's supposed infidelity and, while Marcellina tries to explain that all is not as it seems, Figaro plans revenge.
Barbarina returns, as she has a date with Cherubino, but is frightened by a noise and runs into one of the pavilions. Figaro brings Bartolo and Basilio as witnesses to his wife's betrayal. Figaro tells them to hide until he gives the signal and then moves to another part of the garden.

In the garden, Susanna and the Countess are disguised in each other's clothes thus each exchange that follows is intended for the other man's wife. Marcellina is also hiding in the garden. The Countess (now disguised as Susanna) waits for the planned date with the Count. The Count enters and begins seducing "Susanna". The real Susanna (disguised as the Countess) confronts Figaro, who tells her that the Count is with his Susanna. She asks Figaro to be quiet, but forgets to disguise her voice. The truth begins to dawn on Figaro, who then pleads passionate love to the "Countess". A furious Susanna slaps Figaro who tells her that he knew she was in disguise all along. Continuing the prank, Figaro and the "Countess" loudly confess their love and the Count rushes in to catch the two lovers. Basilio, Bartolo, Don Curzio, and Antonio all rush in to investigate the ruckus and the Count denounces his unfaithful wife. All beg the Count to forgive his wife, but he refuses their numerous pleads. Yet it is quickly revealed that the "servant girl" to whom he has pledged his heart was his own wife in disguise. The Count begs and receives forgiveness. The "crazy day" ends in joy.

Great post, for one of the better operas ever written.

Well well well...I have my Movie columns, Mike Sullivan has his Music columns, and now our own Asfaneh doing her own Opera column? SWEET!

Great article Asfaneh....

Le Nozze di Figaro (The Marriage of Figaro)
A Comic Opera (Opera Buffa) in Four Acts by W.A. Mozart

"Yeah senator that Mozart had a lotta buffas"

Good one. But he actually had lots of Buffas. Almost half of his Operas are Buffas.

Thanks Don Tom and Ronnie. I don't know about Opera Column but I'll write an article on each of the operas that were covered in Amadeus. Talk about obsession.

Write about the greatest opera ever written IMHO ...Nabucco

My favorite operas are Jesus Christ Superstar, Tommy, Quadrophenia, Evita and what was left of Lifehouse.

I'm talking about ROCK operas of course

Is that Mozart's? No? Then I'm sorry! Just kidding, I'd love to do that, but first I need to have some idea about it by listening to at least the highlights and I don't have access to any opera that I wish here. It took me a long time to get some of Mozart's operas and I still don't have Cosi Fan Tutti.

One of the greatest operas ever written!
Wonderful music. My personal favorite here is the countess's aria, the one in F-Dur.
Go on, Afi, that's a great Idea! We shall stage "Die Zauberflüte" in our theatre very soon, btw.

Yes, isn't it? I can't really say which one is my favorite, from the Overture to the Gente, gente I love them all. But Che Soave duet between the countess and Sussana is the one for me.

I wish I could've come for Die Zauberflüte. You have fun there. Pa pa pa ...

Yeah - we all kinda have fun, except the poor girl - soprano...

AS -- I saw La Clemenza di Tito last spring, which Mozart wrote after Nozze de Figaro abd before the Magic Flute.


Nabucco is by Verdi, and you cna hear snippets of it on the internet if you google that opera

I don't think there are that many sopranos that could pull off The Queen of the Night. Mozart had some unique sister in law. It must be a soprano's nightmare. :p Poor thing!

Don Tom, I'll try to see what I can find out. After I'm through with writing an article for each of Mozart's operas I'll get on it.

Nabucco is a very beautiful opera, but not Verdi's best by far. His biggest masterpiece from strictly musical point of view is Don Carlos.

Va, pensiero, sull'ali dorate;
va, ti posa sui clivi, sui colli
ove olezzano tepide e molli
l'aure dolci del suolo natal!
Del Giordano le rive saluta,
di Sionne le torri atterrate.
Oh, mia patria sì bella e perduta!
Oh, membranza sì cara e fatal!

But my favorite of Verdi's is "La Forza del Destino."

Aren't you a Bellini-fan, Turnbull?
Speaking of Verdi - two great instances: "Un ballo in maschera" and "I Vespri Siciliani".

Aren't you a Bellini-fan, Turnbull?
Speaking of Verdi - two great instances: "Un ballo in maschera" and "I Vespri Siciliani". [/b][/quote]Only of "Norma." I'm a big fan of Donizetti, Puccini and Rossini. But my all-time favorite is still "Cavalleria."

You can also hear a snippet in GFIII. That little band that greets Michael Corleone's motorcade in Sicily plays "Va Pensiero."

It's truly beautiful.

What are your Rossini favorites?

"La Gazza Ladra," "L'Italiana in Algeri," "Guillermo Tell," "Il Barbiere de Seviglia."
Rossini figures prominently in "Clockwork Orange."

I second you on these. And yet, your choice is very individual. You excluded Cinderella, and Bellini's Somnambula... Very interesting. Shows some peculiar musical taste.

JM, what are your favorite operas?

You know, when you have to work professionally with some stuff, you lose the clarity of perception...
OK, I'll try.
My favorite opera has to be "Evgeny Onegin" by Tchaikovsky.
Of Verdi's, as I wrote, "Don Carlos", "Un Ballo in Maschera" and "I Vespri Siciliani". Also there are truly great Verdi's operas that are rarely staged, but I still have greatest liking for them. Maybe their drama side is not the best, but the music is truly excellent. They are "Stiffelio" and "Simon Boccanegra".
Mozart's operas - because it's Mozart. And he is one of my three all-time #1-s.
But then, you know, there are so many beautiful operas, that this list could be continued forever... :rolleyes:

Poor Puccini...you almost forgot him...

Then it's your turn to write about him!

Then it's your turn to write about him! [/b][/quote]I second that. Write about whomever you love. It would have twice as effect than someone who doesn't appreciate his works as much as you do.

I think I'm going to stick with Mozart operas. There is more than just the music in what Mozart composed that is interesting to me although I'm completely fascinated with charm and novelty of his melodies in each opera.

I'm not sure how many are going to read these, but even if just one person sees what I saw in any of these operas, that's good enough for me.

I'm almost finished writing about Don Giovanni.

Afi, you are doing really great job!
I'm so glad you write about Mozart here! It's such a fresh air! I'm waiting for DG.

I'd love to do it, if only I were as knowledgeable! I love Puccini, feel his music down in my heart, shiver when I listen to it...but honestly I'm not learned enough in this field to write something deeper.

Except for the normal part, the rest is true! :p I didn't care for opera or classical music until I actually listened to Mozart's compositions.

BTW, thanks for the compliments JM!